Writing for academic purposes is a tricky issue, especially for researchers who are eager to be recognized by larger academic discourse communites through their publications. Indeed, writing for prestigious databases and especially in English has been the basic concern of researchers with EFL background. However, in the last thirty years, the leading figures in ESP and EAP realms have developed pedagogical writing models and emphasized the critical role of genre analysis as road map in academic writing for researchers, with the very term of John Swales, who are looking for creating research space in local and international academic platforms. Thus, driven from these inspiring models in the literature, which are basicly prolific outcomes of genre based writing pedagogy, I, as a researcher, eager to cover all these pragmatic tools in a way that reseachers and, especially, novice researchers would easily catch the essence of writing for academic discourses in terms of positioning themselves in these discourses by synthesizing relevant parts of my master thesis and dissertation. Thus, as a motivational, inspring and reader friendly guide, Genre Analysis Based Pedagogy: Writing for Academic Discourses firstly explains genre as a term within paradigms and the critical position of genre analysis based writing pedagogy and genre analysis as methodology. Followingly, the models specifically put by ESP and EAP experts and practitioners are provided briefly and clearly for researchers in such a way that will guide them in rhetorically and lexico-grammatically structuring of their academic texts, or academic genres, section by section and holistically in English. Thus, through this self-help book, researchers can organize their academic genres with a professional academic tone in English, which will ease, as Hyland pointed out, contextualizing their genres into wider academic contexts.

The art of teaching grew up in the schoolroom, out of inventiveness and sympathetic concrete observation. Even where (as in the case of Herbart) the advancer of the art was also a psychologist, the pedagogics and the psychology ran side by side, and the former was not derived in any sense from the latter. The two were congruent, but neither was subordinate. And so everywhere the teaching must agree with the psychology, but need not necessarily be the only kind of teaching that would so agree; for many diverse methods of teaching may equally well agree with psychological laws.

To know psychology, therefore, is absolutely no guarantee that we shall be good teachers. To advance to that result, we must have an additional endowment altogether, a happy tact and ingenuity to tell us what definite things to say and do when the pupil is before us. That ingenuity in meeting and pursuing the pupil, that tact for the concrete situation, though they are the alpha and omega of the teacher’s art, are things to which psychology cannot help us in the least.